User reviews

Feminist attorney Katharine Hepburn has a new cause. She freely admits to doing a bit of ambulance chasing to get the case of Judy Holliday who shot her husband Tom Ewell after catching him in a love nest with floozy Jean Hagen.

Problem is that of all the cases that he could have been assigned, Spencer Tracy, Hepburn's husband and assistant District Attorney, he got assigned to prosecute Holiday. I guess Spence felt a little of what Bogey felt when Ingrid Bergman came back into his life in Casablanca.

Men down through the ages have certainly had the right to shoot the lovers of their wives when caught, why not women argues Hepburn. The case gets quite a bit of notoriety and of course it puts a strain on the marriage.

But the plot is sure the right vehicle for a lot of great lines and situations. This is Spence and Kate at their very best. Of the comedies they did, this is my favorite, just like State of the Union is my favorite among the more serious films.

Probably Adam's Rib's best known scene is when defense witness Hope Emerson picks up Spencer Tracy in a visual attempt to show feminine prowess and power. Even after seeing it several times you still will laugh yourself silly.

For Adam's Rib, George Cukor denuded Broadway of stars to play in support of Tracy and Hepburn. Making film debuts were David Wayne, Tom Ewell, Judy Holliday, and Jean Hagen.

Wayne is particularly funny and if Adam's Rib was made today, he'd certainly be more explicitly gay. He's the next door neighbor of Spence and Kate and some of the cracks Tracy aims in his direction would be considered downright homophobic. But let's face it, Wayne is an obnoxious scamp and that bit of vengeance that Tracy wreaks upon him and Hepburn in the climax involving licorice is a great cinematic moment.

Adam's Rib is Tracy and Hepburn at the very top of their game and I think folks who are not necessarily fans of their's would be amused.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon.)

Two New York lawyers, husband Adam Bonner (Spencer Tracy) and wife Amanda Bonner (Katharine Hepburn), work out the marital tension and fight the sexual wars in the courtroom on opposite sides of a wife (Judy Holliday) shoots cheating husband (Tom Ewell) case. Adam's masculinity is seemingly challenged and his sense of justice offended by his wife's insistence on showing how smart she is while furthering her feminist agenda at the expense of the law. Will their public confrontation destroy their marriage, or will it ultimately make the bond stronger?

This still plays mainly because of the charisma of Hepburn and Tracy and the fine chemistry they create together. The script by Garson Kanin and Ruth Gordon is shallow and profound by turns, yet ultimately witty and pleasing. Judy Holliday as the lower middle-class Doris Attinger (on her way to her signature role in Born Yesterday (1950)) and David Wayne, as the song-writing neighbor who adores Amanda, shine in supporting roles. George Cukor's direction is clear, crisp and always focused. In the end we can see that Adam can be as feminine as Amanda can be masculine. The bit where Tracy cries real tears to win her back and then tells her, "We all have our tricks" is classic. It's his clever answer to her outrageous courtroom theatrics. Memorable as it illuminates their contrasting personalities is the early scene where the unsophisticated Doris is interviewed by Yale law school grad Amanda.

As a political movie, was Adam's Rib ahead of its time as a vehicle for feminist expression, or was it just another apology for male chauvinism, or was it balanced and fair? I'll give you a hint: the title is ironic. One of the things that made the Tracy/Hepburn romance work so well for so long was the creative balance they maintained in the battle of the sexes. The script by Kanin and Gordon carefully continues that profoundly true equilibrium.

Adam's Rib turned out to be a delightfully cheeky romp with a kicker sense of humour, all acted out with ease by Spencer Tracy & Katherine Hepburn. I love how the film veers from the courtroom right into their marital home and becomes not just about a battle of wills, but a battle of the sexes as well, much fun watching this famous couple go at each other, both at work and at home. The film benefits greatly from the appearance of the lovely Judy Holliday in her breakthrough role, and it amused me greatly to see David Wayne playing a shifty character as I remember him fondly from the Twilight Zone episode Escape Clause in 1959. 8/10

Of the nine films which paired Spencer Tracy and Katherine Hepburn, Adam's Rib is often considered the best. Writers Ruth Gordon and Garson Kanin were friends of the famous couple and wrote the film specifically for them. Kate insisted the film be directed by her favorite screen director, George Cukor, who services the brilliant writing and on-screen chemistry with his trademark elegant staging and unobtrusive style. The result is a comedy that remains the best "battle of the sexes" films ever made.

When Doris Attinger (Judy Holliday) discovers her husband in the arms of another woman, she opens fire and is charged with attempted murder. Enter Adam and Amanda Bonner (Tracy and Hepburn), married lawyers whose lives are turned upside down when Adam is assigned to the prosecution. An ardent proponent of women's rights, Amanda decides to represent Doris, claiming that if the sex of the parties on trial were switched, the jury would feel differently. This conflict of interests creates friction in the courtroom as well as the Bonners' home.

Spencer Tracy, with his confident and relaxed screen presence, paints Adam as a man quite comfortable with his wife's force and ambition. But Adam grows upset with Amanda as the media spotlight finds the case and magnifies it into a cause for women's rights. He accuses Amanda with disregard for the law, reminding her that no one, man or woman, has the right to take the law into their own hands, and that Amanda is using the case for her own selfish purposes. The script is careful not to polarize Adam's interests. He reveres the law and has no special affection for Doris' husband. In opposing him, Katherine Hepburn manages to retain her signature strength while also portraying Amanda as a loving wife who fears the damage her marriage may sustain because of the case and its publicity. Amanda alleges that Doris is doomed to an unfair trial because the general public irrationally feels male infidelity is much more permissible than female infidelity.

The courtroom becomes a spectacle when Amanda puts a circus strong-woman on the stand and asks her to lift Adam. Tracy rises to the occasion, with an angry outburst that is empowered by his otherwise calm and restrained performance. Despite their marital bliss before the case, Adam admits that he likes "two sexes" and doesn't care for having a wife who is a "new woman" and a "competitor". This rare outpouring causes Amanda to realize just how personally Adam is taking the trial, and that it could result in their divorce.

Ruth Gordon and Garson Kanin deserve special recognition for creating a balanced on-screen battle in what has always been a controversial debate - gender equality. Amanda's plight is shaded by her experiences as a woman, and Adam is presented as a man who admits to always trying to hear her side of the story. That their marriage was a happy one before the trial is an indication of the equality they had achieved together. Amanda is, in fact, equal to Adam in both the career and financial worlds. To create a sparring partner for Amanda, Gordon and Kanin could easily have presented a misogynist, or even a lovable but cantankerous traditionalist. They were wiser to portray Adam as a man who simply refused to see the case as one for gender equality, but for vigilantism.

As directed by George Cukor, Adam's Rib features a great many long takes that play uninterrupted. Even during moments of action, like the scene in which both Bonners are getting dressed for dinner, Cukor utilizes minimal staging and camera movement. The camera points directly across the Bonners' bedroom, with her dressing room off frame left and his off frame right. They shout at each other, poking their heads into the frame, occasionally walking through the frame and back again. And later, when Adam discovers Kip and Amanda together, the ensuing fight is framed similarly, with the camera looking down the apartment hallway, characters popping into frame from the left or right and back again. This isn't to say Cukor doesn't move his camera much. There are several decisive camera movements, but Cukor's sparing use of them, and his tendency to rely more on well-composed master angles gives the film an elegant, traditional Hollywood style. The film also benefits from a lively score by Mikos Rozsa and a catchy Cole Porter tune, "Farewell Amanda". Jean Hagen, unforgettable for her comic turn in Singin' in the Rain, again demonstrates her talent for comedy as the "other woman".

Cukor must have realized that with Tracy and Hepburn on screen, all the camera really had to do was follow them, frame them, and let the sparks fly.

The screenplay and the actors' off-screen romance are gifts to the film. We feel for both of them, and believe in what both are trying to achieve. It is rare that a film about difference and equality plays so fairly to all parties involved, and also rare that such a sensitive subject can retain its comic appeal. But for all the film says about equality, Adam's Rib ultimately serves to remind us that when it comes to Hepburn and Tracy, there is no equal. - Scott Schirmer

'Adam's Rib' is arguably the greatest Tracy-Hepburn film, and is certainly the most popular of their teamings. Brightly written (by the husband and wife team of Ruth Gordon and Garson Kanin), it takes the premise of a wife (the sparkling Judy Holliday, in her film debut) on trial for shooting her unfaithful husband (Tom Ewell, establishing himself in the kind of role he'd reprise in The Seven-Year Itch), and turns it into a forum of the sexual values and standards of the 1940s, and a showcase for the fabulous Tracy and Hepburn, who were were never better than as the battling D.A. and defense attorney. In the courtroom and out, the love they share, and tweaking of each other's egos is a sheer joy to watch. That the story is also a knowing commentary about women's inequality under the law makes the film even more topical today, and doesn't reduce the film's enjoyment value at all. It is a VERY funny film, and can be enjoyed at MANY levels!

In addition to Holliday and Ewell, the supporting cast includes the terrific David Wayne as a smarmy songwriter-neighbor who covets Hepburn, and 'writes' the ditty 'Goodbye, Amanda' for her (actually composed by Cole Porter, Hepburn's character's name in the film was changed to Amanda, to fit the song!)

Among the many wonderful scenes of the film are the 'home movie', which accurately reflected much of Tracy and Hepburn's own relationship; the infamous massage scene ("I know a slap...!"); the circus 'Strong Woman', demonstrating that women can be as physically powerful as men by lifting the panicking Tracy over her head easily (in the middle of the courtroom!); the infamous licorice-gun confrontation as Tracy confronts Hepburn with Wayne; and Tracy's crying-on-demand revelation.

'Adam's Rib' is a film which never seems to age, but just gets better and better!

Spencer Tracy and Katharine Hepburn make fireworks in this cute film about a well-to-do married couple who both happen to be lawyers. Hepburn is a die-hard Woman's Rights supporter, so when a ditzy lady is charged with shooting her husband after catching him being unfaithful, Kate decides to take her case and defend her. The trouble is, old-fashioned husband Tracy is already penciled in as the prosecuting attorney. Let the Battle of the Sexes begin!

The script sets up a great opportunity to have Tracy and Hepburn sparring with one another during every phase of the trial, as well as at home every night after they've spent each day trying to outwit each other. As a comedy, there aren't any huge belly-laughs, but it's a charming enough little take on the differences between men and women which also manages to make the point that, in many ways, the sexes aren't really all that different when all is said and done.

**** out of ****

Two married lawyers--Amanda Bonner (Katharine Hepburn) and Adam Bonner (Spencer Tracy)--find themselves opposing each other in court. She's defending Doris Attinger (Judy Holliday) who accidentally shot her husband (Tom Ewell) for cheating on her. He is trying to paint her as a cold-blooded killer. The case starts affecting their marriage badly.

This has won a lot of acclaim as being the first movie that Hepburn and Tracy starred in. It's easy to see why--they worked together brilliantly. They acted as a perfectly married couple believably and their sparring with each other crackled. Also the script is well-written (and Oscar nominated). David Wayne was fun (if a little bit overbearing) as their next door neighbor and Holliday was excellent in her small role. Even better is Hope Emerson who stops the show with her antics in a courtroom. But, other than that, I didn't really like it.

The sexual politics in here are incredibly dated! I do realize that I have to see this movie as a product of its time (1949) and that it was daring back then--but some of it was so blatantly offensive (to women) that I had trouble keeping that in mind. I found the remarks that it was OK to punch a woman down as more than a little troubling. Even worse Tracy and Hepburn spend the second half of the movie screaming at each other nonstop and the courtroom antics go WAY over the top! Also the boring Cole Porter tune "Farewell Amanda" is played again and again and AGAIN till you want to scream! So--mostly because of the sexual politics--I can truthfully only give this a 6. Hepburn and Tracy are fantastic but even their considerable acting gifts can't make one forget the sick sexism in the script.

Sometimes in life, we experience the most embarrassing situations. But no matter how embarrassing these situations are, they can't possibly be as whacked-out as what the characters in "Adam's Rib" experience.

It all begins when Doris Attinger (Judy Holliday) shoots her husband Warren (Tom Ewell) after she finds him cheating on her. She is promptly arrested for attempted murder. High-priced lawyer Adam Bonner (Spencer Tracy) is assigned to represent Warren in court. However, Adam's wife Amanda (Katharine Hepburn) finds it despicable that a woman was arrested for punishing her unfaithful husband, and decides to represent Doris in court.

Well, as you can imagine, with husband and wife on opposite sides of the trial, things get a little crazy. It only makes sense that they can't help but maintain their spousal attitudes towards each other while in court (especially under the table). But even Amanda starts to find Adam unpleasant for defending Warren, and she plays a few tricks on him in court, namely with a very muscular woman.

One thing that you have to wonder after seeing a movie this good is: how did Ruth Gordon and Garson Kanin come up with such a great story? Well, the point is that they did. It focuses not only on sexism, but also on how the whole trial is affecting their marriage.

Anyway, the point is that in my opinion, "Adam's Rib" should have won Best Picture for 1949. Perfect.

Adam and Amanda Bonner (Katherine Hepburn and Spencer Tracy) are attorneys who also happen to be married. Adam is the more successful of the two, as he is the Assistant D. A. The pair of them end up fighting opposite sides of the same case in court, when Amanda, much to Adam's chagrin, takes the case of Dolores Attinger, who shot and wounded her husband, after having caught him cheating on her. Amanda uses the case to forward her own feminist agenda, turning the courtroom into a glorified circus, and making Adam look like a laughing stock in the process.

It's no understatement to say that Adam's Rib was and is a movie that was well ahead of its time, considering the sexual politics which are deeply rooted in it. Very few if any movies at the time would depict their female lead as a successful Attorney, let alone one who was a career woman. Hepburn is on typically, feisty, plucky form as the headstrong Amanda who verbally spars with her preachy spouse, in what essentially utilizes the thematic battle of the sexes, as a means for comedy. However, for a movie that at the time would have been seen to be progressive, it is contradictory in nature that it is fairly regressive. Amanda is indeed very independent and vocal about her views on sexual politics, but on the other hand, she proves to be manipulative, and the archetypal stereotype of the overly emotional woman, who when she doesn't get her way, spits out the dummy. Resentful of her husband's opinions on the case which contradict her own.

Tracy as is his want is consistently sanctimonious as Adam, whose dogmatism is matched only by his wife's. However, of the two she becomes the more increasingly overbearing to the point of toxicity. Turning the courtroom not only into a battlefield but practically a three-ringed circus, to the point you half expect Billy Flynn from the stage musical, Chicago to suddenly enter singing, Razzle Dazzle. And making her bemused and exasperated husband look like an ass into the bargain. If writers Ruth Gordon (the late actress known for winning a Best Supporting Actress Oscar for her role, in 1968's, Rosemary's Baby) and Garson Kinin were attempting to be progressionist with Adam's Rib, they fail on that count seeing as Amanda is so obnoxious, not to mention that her crusade is so misguided, that your sympathies and allegiances go toward the put upon Adam. Opinionated he may be, but never to point of being unpalatable, his annoyance is further compounded by his and Amanda's obnoxious piano-playing, song-writer, and next-door neighbor, Kip Lurie. David Wayne, who is deliciously smarmy as the smug irritant, who Adam can all too clearly see has a crush on his wife.

This is not to say that Adam's Rib is a bad movie, it certainly Isn't. It does do an admirable job of challenging antiquated 1940s perceptions, and preconceived notions of both men and women, with a scene where Amanda addresses the jury, which is no less riveting as it is insightful. And while it does dangle on the precipice of falling into over-the-top farce, George Cukor's stable direction, coupled with fine performances from its decent cast manages to just hold things together. Judy Holiday delivers a scene-stealing performance as Amanda's defendant, Doris Attinger, although to say she doesn't do anything to shatter the stereotype of the dumb blonde would be something of an understatement, it's a role she would similarly repeat in, Born yesterday the following year.

Sporadically amusing, but at the same time pretty mean-spirited, Adam's rib is a movie that I personally have mixed emotions about. It's something of a mixed bag in that it irritated me, as much as it did moderately entertain me. It's with a final act that both Gordon and Garson, pull out one neat little sucker punch, after the court case has ended, and the smoke has cleared, with a semi-satisfactory pay-off. It's not the classic many claims it to be, but it has just enough insights in regard to sexual politics, and the odd inspired comedic moment to warrant at least one viewing.

"Adam's Rib", directed by George Cukor, and with a screenplay by Ruth Ford and Garson Kanin, was one of the happiest films the two stars did together. Mr. Cukor knew how to direct this couple, and it shows. There are no false moments in a movie.

The rivalry between Adam Bonner and Amanda, his wife, comes to a head as they both get involved in a criminal case. Adam, as an Assistant D.A. is assigned to it. Amanda, as a successful trial lawyer, decides to get involved in it because she believes Doris Attinger acted in a moment of madness.

This film was ahead of its time because Amanda questions the right of a woman to be judged the same way as a man, something the penal system seemed to ignore. Doris Attinger is a woman that has had enough with the philandering husband that appears to have fallen out of love with her. Warren Attinger doesn't care who he hurts, until Doris decides to take the matter into her own hands.

Katherine Hepburn shows an impeccable delivery as Amanda Bonner. She has an inner beauty that shines and make her glow. Ms. Hepburn was at the top of her career just about then and it shows. Spencer Tracy is Ms. Hepburn's match as the D.A. prosecuting the case. Mr. Tracy is delightful to watch in their scenes together. He has such a mischievous presence that endeared him to us in anything he played.

The revelation in this film was Judy Holliday. As Doris, the accused woman, she shows talent beyond imagination. In a way, it is sad to realize this amazing actress didn't live to make it even bigger in the movies. She was a natural and she is a joy to watch in the film. Lucky are we to be able to see her best work preserved for posterity.

In minor roles David Wayne plays Kip Lurie, a Broadway composer. He is an annoying neighbor who admires Amanda, much to Adam's chagrin. Kip has written a song that becomes popular, "Dear Amanda", that is heard throughout the movie. Also, in the cast Jean Hagen, Eve March, and Hope Emerson who are effective in their roles.

Thanks to George Cukor, Ruth Ford and Garson Kanin for bringing this enjoyable comedy to the screen. Above all, thanks to Spencer Tracy and Katherine Hepburn for playing the Bonners.

Obviously, the actors carry this film. To an ex-judge, like me, it is laughable for all the wrong reasons. Adam is an inept prosecutor, but one has to remember that the courts were less punitive in the 40's than today. That's why we have prison over-crowding. Prison is a business. In 2014, the defendant would have likely been convicted of reckless endangerment at the very least. But, I realize this is a typical Tracy/Hepburn comedy and realism is unimportant, albeit feminism is very important. Katherine always wore the pants, literally and figuratively.

My favorite scene is when the Hope Emerson character lifts Adam up in the air, then gently returns him to the floor. This is the defendant's ploy to prove that females can be strong.

For a while it seems that "Adam's Rib" will be hard to take. More precisely: Katharine Hepburn's Amanda is hard to take. Her feminism - when put to the test - amounts to little more than anthem singing; and however sympathetic her client may be, we can see at once that the case for the defence is almost entirely frivolous. Yet George Cukor is standing in the gallery, apparently cheering her on. It's infuriating. It's like watching an Edwardian comedy about suffragettes.

Well, no. The film is a good deal smarter than we had given it credit for being ... oh, very well, smarter than *I* had given it credit for being. Gordon, Kanin and Cukor understand our infuriation; the supposedly shrill dispute in the first half is merely a starting point. Maybe audiences these days AREN'T too sophisticated for this kind of film. Maybe we're too stupid. (Oh, very well, maybe I'M too stupid.) -In any event, this is really a story about Adam and Amanda. Their story becomes deeper as the trial becomes shallower.

Even while it's infuriating us (our infuriation will be used to good effect later, of course) "Adam's Rib" is never less than pleasant to watch. One reason is that Hepburn and Tracy are just so brilliant. The script serves them both well: neither player is denied good lines, and any impression that Hepburn is meant to be just some hothead, or that Tracy is meant to be just some schmuck, is transitory. This is a wonderful script! My only previous exposure to Hepburn and Tracy had been in "Guess Who's Coming to Dinner", where their partnership was the only thing holding the film together; I wasn't at all prepared for the sheer energy they generate when they set to work on stronger material. Moreover they seem perfectly natural as a married couple.

The music is good, too. There's a catchy original song (not a gratuitous addition ... although it wouldn't matter if it was) by Cole Porter; the rest of the score was written by Miklós Rózsa, in one of his rare lighter moments.

Stars Spencer Tracy as assistant District Lawyer and Katharine Hepburn as defender Advocate in Law whose marriage comes under strain when they encounter themselves on opposing sides in court . Adam is prosecuting a high-profile case in which a woman : Judy Holliday is accused of attempting to kill her philandering husband : Tom Ewell by gunning him . Amanda acting as her defense attorney , and the sparring starts . It Will Tickle Your Funny Bone ! .WHO WEARS THE PANTS? .You'll split your sides laughing! . It's The Hilarious Answer To Who Wears The Pants! Funniest Picture in 10 Years!

An amusing classical comedy about War of the Sexes , including entertaining events , funny incidents , disconcerting situations and lots of fun . The screen team of Spencer Tracy and Katharine Hepburn was always marvellous , but never more so than in this vintage comedy . As husband and wife lawyers on opposing sides of the same criminal case , they remind us of what film magic is really all about . Competently directed by George Cukor and it is still a masterpiece of its kind . The supporting interpretations by Judy Hollyday as the lady accused of shooting her husband played by the sympathetic Tom Ewell , Jean Hagen as his lover , David Wayne as a songwriter with none-too honourable designs and especially Home Emerson as a bouncing witness greatly add to the fun .

It contains an atmospheric cinematography in Black and White by George J. Folsey and also available in a horrible colorized version . As well as lively and attractive musical score by Miklós Rózsa . The motion picture was compellingly directed by George Cukor who has the comedy under perfect control . Cukor was one of the best Hollywood directors shooting a great number of successful and classic films with penchant for melodrama , comedy and musical , such as : David Copperfield , Margarita Gautier , Little Women , Adam's Rib, Born Yesterday, The Women, Corn is Green, Dinner at Eight , Les Girls , Gaslight , A Star is Born, Holiday , My Fair Lady , Heller in Pink Tights , I Should Happen to you , What price Hollywood? , Double Life , Woman's Face , Rich and Famous and this Philadelphia Story . Rating : 7/10 . The picture will appeal to Katharine Hepburn and Spencer Tracy fans . Well worth watching . Above average . Essential and indispensable seeing.

I admit, I am only 59 minutes in, but I can't watch another second of this. Both Hepburn and Tracy's characters are too annoyingly stupid.

(Possible spoilers??, this explains only the set up and the beginning of the film)

The film centers around a case that is way too clear: A woman buys a gun, follows her husband until she finds him cheating on her, and then shoots all 6 bullets in their direction, hitting the husband in the chest and wounding him. The film decides to choose this case as a backdrop for a discussion on sexism, and while that was clearly a problem in the 50s, it is of no importance to this case. The lawyers spend their time bickering over whether or not the man was having an affair, but neither seem to realize that adultery is no grounds for murder, nor is it even a crime in America. Any good writer would have realized that the details of this case weren't ambiguous enough for a discussion on sexism, and would have changed certain details, but alas, they did not and we spend our time watching Hepburn make a mountain out of a molehill and Tracy make Mount Everest out of Hepburn's mountain.

I give this film a 4 because there is some good dialogue in between the badly-done plot and it is a decently tight script. I read the rest of the story on wikipedia and it doesn't seem to get much better. I don't suggest watching this unless getting back at men is such a fantasy of yours that you are willing to forgive the unbelievable aspects of this story.

Adam's Rib (George Cukor, 1949) is often hailed as the best "battle-of-the-sexes" comedy on celluloid, but it's beset with the same problems as the bulk of these Tracy-Hepburn vehicles: dated social observation that's tricky to navigate today, a lack of laughs and dramatic sequences that are just too heavy. The leads are a blissfully married couple who clash when they take opposing sides in a murder trial: assistant DA Spence leads the prosecution of wronged wife Judy Holliday (who is magnificent), while crusading feminist Kate leaps to her defence. Holliday plugged philandering husband Tom Ewell, you see, then fired wildly around the flinching floozy he was nuzzling up to, Jean Hagen.

The acting is absolutely stunning - universally superb - and there's smart use of newspaper inserts and a puppet show motif, but the material is spotty and chunky, with humour arriving in slabs rather than being weaved through the narrative. Kudos to former stage star David Wayne (he played Og in the smash Broadway version of Finian's Rainbow) for being so formidably irritating as Hepburn's extremely camp confidante and suitor. His reading of Cole Porter's specially adapted song Farewell, Amanda is a rare moment of respite in a teeming sea of annoyance. Hepburn asked her favourite director, Cukor, to favour Holliday in the filming of their scenes and leaked stories to the press about Judy's revelatory performance enraging both the leads. The ploy was designed to land her apprentice the lead in the screen adaptation of Born Yesterday, which she had initiated on stage. It worked - and she took home the Best Actress Oscar the following year.

As for Adam's Rib, it's impressive and memorable but, despite all that, resolutely not a classic.

Probably the best teaming of Hepburn and Tracy thanks to the superb writing of Ruth Gordon and Garson Kanin.. Lets not forget the superb direction of George Cukor.

This film made some bold statements but it did it with great wit and humor. Now Hollywood beats you over the head trying to make a point.

I'd put off seeing this movie from other comments I'd read. That being said, it's actually very funny in places - Some great make up effects & fast witty dialogue add to an amusing movie. Billed as a romantic comedy, it is, but not what current audiences would expect in a romantic comedy. Kip reminds me of how a Jack McFarlane character would have been played in the 1950's. This movie plays as a slice out of time, showing its age, & is interesting to watch because of that. I could see the story being udpated & remade now - while there are weak points to the plot, current audiences forgive bigger plot gaps in movies being made today than the story gaps which appear in Adam's Rib. It's interesting to see how the chemistry changes, yet remains the same between Spencer & Katharine from this film to Guess Who's Coming To Dinner. Still magical!

It is always hard to not get excited to see something that you'd heard nothing but great things about. That was certainly the case with 'Adam's Rib'. Have loved a lot of Spencer Tracy's and Katharine Hepburn's performances and their partnership/chemistry is nothing short of legendary, can never get enough of seeing them together. Also like to love quite a number of the films directed by George Cukor.

Tracy and Hepburn starred in nine films together (this, 'Woman of the Year', 'Keeper of the Flame', 'Without Love', 'The Sea of Grass', 'State of the Union', 'Pat and Mike', 'Desk Set' and 'Guess Who's Coming to Dinner'), three of which also directed by Cukor (this, 'Keeper of the Flame' and 'Pat and Mike'). My first Tracy and Hepburn film was 'Guess Who's Coming to Dinner', which still holds up as a great film and deservedly one of the more famous collaborations, but if there was a vote for their best film on my part 'Adam's Rib' would be it. It is a wonderful film that is among the most entertaining films seen in a while, is one of Cukor's best and is one of the quintessential films bordering around the battle of the sexes, its wit and sophistication hard to beat.

Both stars give performances of a lifetime in roles that couldn't have been more perfect fits. Appreciated Tracy's subtlety while Hepburn plays hers to the hilt and lives it, furthermore their chemistry is at its most sparkling. More than up to their level is the star-making turn from Judy Holliday, very nearly stealing the show. All the cast are on top form but it's all about Tracy, Hepburn and Holliday.

Cukor's direction is some of his most subtle, yet it always engages and is at ease with the material. Also think it's some of his best and shows a master at work at the peaks of his powers. 'Adam's Rib' is beautifully filmed too and the story is ceaselessly compelling from the first second to the last, opposing sides in court has seldom entertained or thought provoked as much as it does here.

Alongside the lead performances, the other star of 'Adam's Rib' is the script. The sparkling wit, knowing sharpness and thought-provoking sophistication helped earn it a deserved Oscar nomination and it would have been a more than worthy win if released in a different year to the script that won for 'Sunset Boulevard' (deservedly). It is amazing too that the battle of the sexes/sexual politics is still pertinent and relevant now, which goes to show how well it has stood the test of time and easy to relate to.

Overall, a wonderful film that brings the best out of Tracy, Hepburn, Holliday and Cukor. 10/10 Bethany Cox

Adam's Rib is quite an interesting movie soley based on it's premise and actors alone. Let's see, Spencer Tracy and Katherine Hepburn playing dueling lawyers on a case about a woman who may have shot at her philandering husband. Kate believes she's not guilty, because the husband got what was coming to him cheating on his poor wife!. So, um, where does that place Hepburn and Tracy in real life? One of the more famous adulterous pairs in history are playing dueling lawyers fighting over a case of a woman who may or may not have shot at her husband because he was cheating? Hmm interesting. Don't get me wrong, I loved the movie. Hepburn and Tracy are one of the most famous screen couples in history, and this proves it. Their repartee is amazing here. Also worth noting is the supporting cast, with of course, Judy Holliday in her screen debut as the wife of the philandering husband, and also David Wayne as the staple gay character (After all, this IS a George Cukor movie) All in all, one of the more famous comedies of the 1950;s.

ADAM'S RIB is probably the most well-known of the nine Tracy/Hepburn films (with, perhaps, the exception of Guess Who's Coming To Dinner). It stars Spencer Tracy as Adam Bonner, and Katharine Hepburn as his alliteratively-named wife, Amanda. When they wind up as opposing counsel on the same Attinger v Attinger case (Adam prosecuting, Amanda defending), sparks of all sorts--romantic, angry, sexual--fly through the courtroom and their home.

Given the extremely flawed feminism of WOMAN OF THE YEAR (Tracy and Hepburn's first film together), I was worried that ADAM'S RIB would be more of the same--understandable, given that it is written by Garson Kanin, the mastermind behind the first film. The message of the film is certainly muted by the shenanigans Amanda gets up to in the courtroom--deliberately flustering Adam by giving her client a hat he had given her, for example; or flirting with him under the table (a naughty, electric scene); or even worse, having Adam literally shown up by a circus woman. It does occasionally make you wonder why Amanda has to resort to such silly tactics to make such a serious point about equal rights for women. But this really is just a minor offense--I present the entire series of 'Ally McBeal' as proof that, if ADAM'S RIB *did* present female lawyers as silly and flighty, it is hardly the only offender, and the fact that it was made in 1949 might excuse it. 'Ally McBeal' doesn't have that same excuse.

In fact, I *don't* think that ADAM'S RIB is as schizophrenic about affirming the female and equal rights as WOMAN OF THE YEAR is. Yes, Amanda does some silly things in court--this is a flaw in the film, albeit (I feel) a minor one. But, discounting that, Amanda is by all accounts a character the audience can (and do) sympathise with. Moreover, she is affirmed at the end in a way the Tess Harding character never is. I find it very interesting that, at the end, it is *Adam* who schemes to win Amanda back. (Contrast this with WOMAN OF THE YEAR: Tess has to win Sam back, and to do so, must be 'domesticated'.) The film actually makes the point that both Adam and Amanda are partly right--her cause is just as pertinent as his, and they both eventually come to respect what the other is fighting for. That's what gives them a true marriage, a true union based on sharing and trust, give and take. (Again, by contrast, this came under serious fire in WOMAN OF THE YEAR.)

In the end, ADAM'S RIB really is a wonderful film: it's not without its flaws, of course, but what it comes down to is a truly delightful little romantic comedy, with sparkling performances from its leads. It's a true delight to see Tracy and Hepburn playing a happily married couple who evidently love each other deeply. They really do play together perfectly--always in sync, and so believable as people who are going to spend the rest of their lives with each other. For them, it's the little moments that make all the difference; one of my favourites is when Adam and Amanda are screening a home movie for their party guests. Worried that Adam is mad at her (as he has every reason to be!), Amanda moves quickly across the dark room to him, and gently rests her head on his lap, before returning to her seat. Such a sweet, romantic little gesture, and yet it says volumes about their relationship.

Moreover, the film has plenty of little surprises (I was actually really pleased, and surprised, at the verdict given by the jury); a lovely supporting cast (including Jean Hagen and Judy Holliday, the latter's role being--effectively--a screen test for her later Hollywood career); and incredible dialogue fired off at an incredible pace. Plus, a sweet song by Cole Porter (albeit a very irritating, and crassly forward/opportunistic singer in the character of Kip), and some of the naughtiest scenes in film history that never took place onscreen.

Well, well worth the watch. 9/10.

I wasn't as impressed by the movie as I had hoped. With Tracy and Hepburn headlining, maybe I put my expectations a little high. Anyway, the story is decent, but the ending is long and drawn out a little too much for my liking. The two actors do as good as job as you can expect, but I personally think neither should have signed up. My guess is that they told Tracy his leading lady was Hepburn and vice versa, which is why they both signed on for a movie which personally I think is unsuitable for either.

Perhaps I am being a little overly critical because of who starred. If it was lesser known actors who did this movie, I probably would have given it higher marks. It isn't bad at all. It is worth watching just to fulfill any requirements for either actor.

Lawyers Spencer Tracy (Adam) and Katharine Hepburn (Amanda) spend the film on opposite sides during the trial of Judy Holliday (Mrs Attinger) who is up on a charge of attempted murder after she shoots her husband Tom Ewell (Mr Attinger). Given that the film is a comedy, it can only really end one way for Judy Holliday.

Tracy and Hepburn undoubtedly work well together but the film has occasions where these two characters talk across each other and it just seems too shouty. It may be realistic but it certainly is not entertaining. Hepburn tends to over-exaggerate and lay on the dramatics when she acts and Spencer Tracy is clearly the better actor of the two. Actually, the best character is that played by Tom Ewell. He steals the film in all his scenes because he is genuinely funny. Judy Holliday is good if you can get past her terrible voice but musician neighbour David Wayne (Kip) is awful – not in the fact that he is meant to be an annoying character, but in the fact that he doesn't know how to convincingly portray a realistic person. He plays it gay one minute, then straight another minute, he's rubbish at acting. Nothing about his character rings true.

At the heart of the film is Hepburn's ridiculous notion about women's lib and some sort of feminist ideals – you know, the sort of thing that makes women annoying. Face the facts Hepburn, Judy Holliday had just tried to kill someone for goodness sake – it's got nothing to do with gender!

It's certainly a watchable film with some amusing parts (mainly with Tom Ewell), and some annoying parts (Katharine Hepburn and every appearance of David Wayne), and overall, it's more annoying than funny. Certainly not a classic as people seem to believe because they are told that it is. Everyone has done better.

Adam and Amanda Bonner are happily married, despite the sparky nature of their relationship. Lawyers each, both are interested in a newspaper report of a woman who shot (but not killed) her husband when she discovered him in the arms of another woman. The Bonner's take differing views of the case and it is no surprise that Adam ends up prosecuting while Amanda is Doris Attinger's defence counsel. With the gloves off in the courtroom with a legal battle of sexual equality, it is no surprise that the conflict and disagreements don't end at the front door and soon it is all kicking off.

The issue of sexual equality may have moved on from where it was in the middle of the last century but this film occasionally hits an interesting point, even if the majority of it is fairly shallow and a bit unconvincing in terms of legal argument. Without really engaging me, the film still held my interest as the story developed and it was fairly enjoyable even if it couldn't settle on whether or not it is a comedy or a courtroom "issue" drama; as it was I didn't think it did either brilliantly but did both well enough to make it work. I did expect more laughs because I thought it was going to be one of the screwball genre, but once I realised that it was more amusing than funny then I was able to settle into it.

One of the main reasons that the film has continued to last down the years is the chemistry between Tracy and Hepburn. Both are convincing as a couple in terms of romance, attrition, chemistry and other aspects of their relationship on screen. Tracy is tetchy and enjoyable but Hepburn is more than a match for him and she does it with style and real humour. Support is good from Holliday as well as Wayne's annoying neighbour. Mainly though it is Tracy and Hepburn's movie and they more than carry it between them.

Overall though this is not quite the classic that I had hoped it would be but it still did enough to make it work today. The courtroom stuff is not as dramatic or as relevant as it may have once been and the comedy is more of the sharp variety than the laugh-out-loud sort; however the chemistry between the lead two keeps it going and makes it worth seeing still.